Log 40 assembles a wide-ranging collection of thoughtful essays on some of the most urgent questions and debates in architecture today, bringing them into dialogue with those of architecture’s recent past. The legacy and current status of architectural images are considered from radically different vantages, in Brett Steele’s anecdotal discourse on Zaha Hadid’s 1983 painting The World (89 Degrees), John May’s exacting dissection of “architecture after imaging,” and Hana Gründler’s exploration of the ethical implications of drawing borderlines. The issue features commentary by two contemporary architects on contemporary buildings: V. Mitch McEwen on David Adjaye’s National Museum of African American History and Culture in Washington, DC, and Elisabetta Terragni on OMA’s Fondazione Prada in Milan. Other highlights include an excerpt from Noah’s Ark, the new collection of Hubert Damisch’s singular writings on architecture; a lively response by Mark Foster Gage to Michael Meredith’s recent Log essay on indifference; and a sampling of new domestic objects designed by architects.

A queer travelogue of a boating voyage on Belgium’s inland waterways with merman and singer Steev Lemercier in the company of Chanel and Dolce, who are a cat and a dog, during the first months of their friendship with the author.

In conjunction with the release of Exclusion Zones, join artist Susanne Kriemann and writer Eva Wilson at Motto Berlin on Tuesday, July 18 at 7 pm for drinks and an informal discussion in the courtyard.

Exclusion Zones, the second issue in Fillip’s Supplement series, unpacks Susanne Kriemann’s photographic investigation of uraninite (or pitchblende), a radioactive, uranium-rich mineral found in the Democratic Republic of the Congo (where it was mined for the Manhattan Project), Canada (in the Athabasca Basin and Great Bear Lake), and throughout Europe. Kriemann’s work focuses on the impact on the land surrounding uraninite mines operated by the now defunct mining company SDAG Wismut in the Ore Mountains of the former GDR. In Kriemann’s work, radioactive pigments drawn from wild plants growing near the vast sludge ponds at the decommissioned mine become raw photographic material: toxic, volatile, and beautiful.

Documented through Kriemann’s photographs, archival images, and a new text by Eva Wilson, Exclusion Zones charts an economic-geologic-cosmic nexus that speaks to the diverse impacts of industrial resource extraction and environmental remediation.

In 1985, British movie director Terry Gilliam releases Brazil, a free adaptation of George Orwell’s novel 1984 (currently hitting again best-seller list in the USA). Borrowing its title from Ary Barroso’s song Brazil, after Gilliam allegedly heard it while scouting in a horrible small industrial town in the north of England, the movie is a fable about humanity’s alienation in contemporary bureaucratic and capitalist systems, and affirms the power of imagination, dream, and affect as potential tools of resistance and escape in a surrealistic, post-Monty Python tone.

2017: in Brazil, the repercussion of “Lava Jato Operation” now infiltrates all layers of the Brazilian upper class and beyond, and will likely force Michel Temer, Brazil’s coup-monger president, to move out of the presidential house imminently, and this time, not because of alleged ghosts. The “Brazilian Miracle” is definitely outdated, and the major non-Hispanic country of Latin America is experiencing the worst political and institutional crisis of its history. On the other hand, a national council of Mexican indigenous groups backed by the Zapatista rebels just selected Maria de Jésus Patricio Martínez, a Nahua woman, as the country’s first indigenous presidential candidate. This as Mexico is said to enter the world’s 10 largest economies in the next few years, dangerously challenging its northern neighbor, for better or for worse.

Cards are shuffling quickly in the Americas and it seems that what we once expected from the north or the south might soon not matter anymore. Could it be time to reconsider our origins, to invent a new future, to finally get rid of our displaced modern ambitions and appropriate critically the performance of the exotic that cursed us for so long? In this issue of Terremoto, we will talk about places which don’t really exist as such, identities traded for others, landscapes that imprison us or, on the contrary, set us free, trying to set our landmarks aside as we look for a path towards new forms of consilience.

Uncompromising collection of found images and original work from Felicia Atkinson, composing a rasterized visual score. Audio Book could be a radio program without sound, but it’s a travel guide for a destination that doesn’t exist. It’s a take-away environment. It’s a deep looking into the palimpsests of a landscape.
It gathers two hundred images, some are found materials some are originals. Some images are words. Each of those images contains a grain, a noise, a distortion, a blur, a change of frequency.
The book is the territory. The pages are the knitters of a strange kind of duration.
In the book there is no need for frontiers and passeports, language is a river to cross or to swim in. We are all foreigners of something. There are only derives and situations. The book travels for you, circulates, is exchanged, stolen, given or lost.

For its 5th issue, Collection revue has changed its subtitle from the previous “A magazine around contemporary drawing” to a more simple “9 conversations”. The issue is still a direct extension of the previous ones: engaging in conversations with artists who would not have the occasion to be reunited elsewhere than on these pages. Alongside the artists, the issue features graphic designers bridging the realms of technology and emotion, materialist publishers and a group of skaters turned gallerists.

This year sees an election campaign and the candidates of the parties are present everywhere showing different slogans but the same pose: in a suit and tie looking to the camera with confidence and a bright smile. Erik Steinbrecher makes them all the same in his latest publication PARTY: Whether nationally conservative or left-liberal, the hopefuls in Germany or France, Switzerland, Great Britain or the USA are here alienated by the tomato slaughter to the point of being unrecognisable. Yet the reader still tries to find out who they are.